OTTAWA (CUP) - It can't be blamed on the translation. Mikko Sirén, drummer for the Finnish cello-metal band Apocalyptica, uses the terms "they" and "us" to describe the transformation his band has undergone in the past decade. When talking about Apocalyptica, the cover band that played Metallica, Pantera, and Sepultura covers for its first two albums in 1996 and 1998, he uses the term "they." This could refer to the band in the years before Sirén joined, but it's more about the transition to the band's current form. "It just came to the point that if they wanted to continue, if they wanted to be fresh, to be excited [about] the band, they really needed to find something new to do," Sirén said. Then he makes the switch. "And to make our own songs, that's a way you can express yourself." He switches back to "they" when speaking in the past tense. "That was a thing they aimed for and I really have to be proud of the guys they did it because it was a brave thing to do," he added. The band switched to releasing albums that consisted primarily of original material in 2000, a move that some fans found unsettling. Sirén first joined the band on stage in 2003, and became a full-fledged member of the group in 2005 - another step away from the cover band that translated Master of Puppets to chamber music. "Of course, we know that some fans might be upset about it and that it's the wrong thing to do," Sirén said considerately. "But I also agree the only way a band survives is to keep our minds fresh. It's really crucial we change the stuff we do; be brave and not just stuck with some old things we've done." When interviewed, the band was in Finland to rest, practice, and "keep girlfriends happy," before launching into the North American leg of their tour, which started on Sept. 21. Although the concept behind Apocalyptica appears to be more Mozart than Metallica, the crash of the cymbals, the sinister tone of the cellos, and the legitimate metal-inspired cello solos in their music can make even the most dedicated metal fans raise the devil horns. "I think it's a combination of the tenderness, those really fragile [elements] that those classical instruments bring, and that combined with the high energy, [and] the power [of metal]," he said. "You can find those in other bands. But the combination of those two in one band, I think that's something special that's [not] easy to find." The three cellists, Eicca Toppinen, Paavo Lötjönen, Perttu Kivilaakso, and Mikko, the drummer, have gained some credibility and fame in both Europe and North America, and are now collaborating with some notable metal musicians. They have Corey Taylor, lead singer of multi-platinum metal group Slipknot, singing lead vocals on their latest single. That's one more thing that's helping the evolution of the band. "I really look up to him. He is one of the most musical guys I have ever met," Sirén said. "When you get to work with somebody who is really, really good at what he is doing, you sort of absorb things, even subconsciously." Sirén cited recording tracks with Dave Lombardo of Slayer as another great opportunity. Before he joined the band, however, Sirén wouldn't have cared much about being in the studio with a heavy metal demigod. "I haven't ever considered myself to be a metal drummer, because before [joining] the band I [rarely] listened too carefully [to] metal music," he said. "I didn't own any metal albums at that time. For the first three years, the cello players were more metal than me." Learning about heavy metal and its fan base has been enlightening for Sirén. "It always makes me feel bad because people have so many prejudices against metal music and about the audience. They think it's really negative, but in real life, it's really supportive, really caring." Defying expectation is something that Sirén has come to enjoy. Performing on the main stage at some of Europe's largest metal festivals, including the Wacken Open Air and the Graspop Metal Meeting, Apocalyptica gets a range of reactions from unsuspecting metalheads. "People really don't believe their eyes or ears. 'Where's the guitar player? When is he going to come on stage? Or is he behind a curtain?'"
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